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Nicole Eisenman, Going Down River on the USS J-Bone of an Ass, 2017. Photo: Nicole Eisenman. Courtesy of the artist, Hauser & Wirth, Vielmetter Los Angeles, and Anton Kern Gallery, New York.

Frieze Los Angeles Announces 2020 Exhibitors, Nicole Eisenman Joins Hauser & Wirth, and More

Frieze Los Angeles has revealed that more than seventy galleries will participate in its 2020 edition, which is taking place at Paramount Pictures Studios from February 14 to February 16. It is also introducing a new feature section devoted to emerging LA galleries, Focus LA, which will be curated by Rita Gonzalez, the curator and head of contemporary art at the Los Angeles County Museum of Art. Among the galleries joining the fair for the first time are David Lewis, Gavin Brown’s enterprise, Gladstone Gallery, Goodman Gallery, House of Gaga, Skarstedt, and Xavier Hufkens.

Frieze Projects, the program of performance, sculpture, and installations staged within the Paramount Pictures’s backlot set, will be co-curated by Gonzalez and Pilar Tompkins-Rivas, director of Vincent Price Art Museum. Frieze’s film program, will be curated by Venus Lau, the artistic director of the K11 Art Foundation. Coinciding with the fair will be an expanded Frieze Week program of exhibitions and events across the city will begin on Monday, February 10. A full list of contributors can be found here.

Hauser & Wirth announced the representation of the Brooklyn-based artist Nicole Eisenman in collaboration with Anton Kern in New York City and Susanne Vielmetter Los Angeles Projects in California. Born in France and based in New York, Eisenman was featured in this year’s Venice Biennale and Whitney Biennial, which she nearly pulled her work from in protest of museum trustee Warren B. Kanders, who resigned from his post this summer.

“Throughout her three decades of drawing, painting, and printmaking, Eisenman has patchworked a world from every possible art-historical mode of figuration, bending styles and techniques easily, and often comically, to her will,” wrote Johanna Fatemen wrote in the April issue of Artforum. “In her wildly varied body of work, a sensitively observed queer morphology surfaces.” The gallery will display Eisenman's work beginning this December at Art Basel Miami Beach.

Pace’s Live program launches Friday, November 15 with Yto Barrada’s restaging of the Cinémathèque de Tanger, an independent cinema founded by the artist in the Moroccan city of Tangier, and will present ten films that were screened at the theater over the last fifty years at Pace’s newly opened headquarters in New York. It will be followed by Torkwase Dyson’s two-act performance and sculptural installation I Can Drink the Distance, which explores black spatial and ecological relations, taking place next week, on November 19 and November 22. The program is curated by the gallery’s new hires Mark Beasley and Andria Hickey.

Marianne Boesky Gallery now represents Allison Janae Hamilton, whose multidisciplinary work encompasses photography, video, sculpture, and installation and engages with the histories, mythologies, and physical transformations of land. A selection of her work was included in the gallery’s summer exhibition in Aspen, “Tricknology,” which was curated by Sanford Biggers. The gallery will include Hamilton in its booth at Art Basel Miami Beach, where she will participate in the Art Basel Conversation “Confronting Climate Change Denial,” and will present her work in one of its Chelsea locations in the fall of 2020.

“Allison’s work is so poignant in its address of deeply complicated and nuanced issues,” said Marianne Boesky. “It connects the dots in a way that enriches the dialogue and provides a fresh perspective on matters critical to social, political, and economic progress. At the same time, it is aesthetically and formally innovative and compelling. There is a beauty to it that sometimes belies the difficult subject matter with which she is often dealing.”

American artist Kaari Upson joins White Cube. Having grown up in San Bernadino, California, Upson was influenced by the frequent threat of wildfires and hurricanes and has since channeled the anticipation of imminent catastrophe into her works. “Despair and confusion characterize the best of Upson’s oeuvre,” Mira Dayal wrote in Artforum. Upson’s work has recently been exhibited in solo shows at the Kunstverein Hannover (2019); Kunsthalle Basel (2019); and New Museum of Contemporary Art (2017) as well as the Fifty-Eight Venice Biennale.

 

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